Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Jordan and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Bremen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Barry Ungar to the electroclash kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by MC5. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
AZ,
Crash Course in Science,
FM Einheit,
Rosa Yemen,
Kings Of Tomorrow,
Big Daddy Kane,
Saccharine Trust,
Joe Smooth,
The Mighty Diamonds,
The Beau Brummels,
Dawn Penn,
Con Funk Shun,
Lonnie Liston Smith,
Oneida,
Kaleidoscope,
U.S. Maple,
John Lydon,
a-ha,
Icehouse,
Kango’s Stein Massive,
T.S.O.L.,
June Days,
Justin Hinds & The Dominoes,
KRS-One,
Outsiders,
Nation of Ulysses,
Max Romeo,
Masters at Work,
Qualms,
Scan 7,
Model 500,
Harpers Bizarre,
H. Thieme,
Cymande,
Echo & the Bunnymen,
8 Eyed Spy,
Scott Walker + Sunn O))),
The Birthday Party,
Lindisfarne,
Scratch Acid,
Bauhaus,
Section 25,
Magazine,
The Misunderstood,
Gichy Dan,
DJ Style,
The Moleskins,
Gabor Szabo,
James White and The Blacks,
Sarah Menescal,
Sister Nancy,
ABBA,
John Holt,
X-102,
Kool Moe Dee,
Shuggie Otis,
The West Coast Pop Art Experimental Band,
Derrick Morgan,
Metal Thangz,
Maurizio,
Mo-Dettes,
The Busters, The Busters, The Busters, The Busters.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.